The University Mnsical Society of Tile University of Michigan
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The University Mnsical Society of Tile University of Michigan Presents ROYAL PHILHARMONIC ORCHESTRA RUDOLF KEMPE, Conductor TEIKO MAEHASHI, Violinist SATURDAY EVENING, NOVEMBER 4, 1972, AT 8:30 HILL AUDITORIUM, ANN ARBOR, MICHIGAN PRO G RAM Second Essay for Orchestra, Op. 17 BARBER Concerto in D minor, Op. 47, for Violin and Orchestra SIBELIUS Allegro moderato Adagio di molto Allegro, ma non tanto TEIKO MAEHASHI INTERMISSION Symphony No. 6 in B minor, Op. 74 ("Pathetique") TCHAIKOVSKY Adagio j allegro non troppo Allegro con grazio Allegro molto vivace Adagio lamentoso j andante Columbia, Decca, EMI, RCA, World Record Club Fourth Concert Ninety-fourth Annual Choral Union Series Complete Programs 3789 PROGRAM NOTES BY ROBIN GOLDING Second Essay for Orchestra, Op. 17 SAMUEL BARBER The first of Samuel Barber's two Essays for orchestra was composed in 1937 and performed for the first time the following year, togetber with the Adagio for strings, by Arturo Toscanini in the first concert he gave witb tbe NBC Sympbony to include music by an American composer. The second Essay was written in March 1942 and first performed by the Philharmonic Symphony Society of New York under Bruno Walter on April 16 that year. It follows a similarly concise "literary" design to that of the first Essay, but is scored for a larger orchestra and is rather broader in scope. There are two main themes, both undulating in outline, the first introduced at the outset by the flute, the second, and more lyrical, by the violas, and both of them are incorporated in the brisk, energetic fu gal 'development.' A third, ostinato-like motif is introduced by the brass shortly before the end of the exposition and reappears in the coda (which is preceded by a fortis simo re-statement of the first theme). Violin Concerto III D minor, Op. 47 JEAN SIBELIUS Sibelius learned the violin as a boy and at one time had hopes of becoming a virtuoso on the instrument, and this no doubt accounts for the fact that in his compositions for solo instrument and orchestra the solo instrument is in every case the violin. The Concerto is both the first and by far the most important of these half-dozen works. Sibelius began it early in 1903 (he was thirty-seven, and had already written the first two of his seven symphonies) and completed it in the summer of that year. There are three main thematic groups (as opposed to the more normal two) in the first movement. The first comprises the solo violin's extended statement of the first subject (most beautifully accompanied by shimmering tremoli on the orchestral violins and violas), a short tutti and a cadenza; the second an orchestral passage based on a theme whose cadential falling fifth proclaims its relationship to the first subject, and the true second subject-a decidedly lush, romantic tune delivered by the solo violin in sixths and largamente j the third (Allegro malta, B-flat minor) a vigorous theme on the orchestral strings with an attractive pendant initiated by the flute. The soloist's main cadenza, a very demanding one, fo llows soon after this and paves the way for an extended recapitulation and development rolled into one. The movement ends with a brief coda which alludes to the first su bj ect and the beginning of the cadenza. The remaining two movements are very much more straightforward in design. The Adagio di malta in B-flat is in ternary form, its main theme an eloquent cantilena delivered by the solo violin after a short preface by the wind instruments, the rhythmic pattern of which forms the basis of the animated middle section of the movement (in B-flat minor.) There is a varied reprise, in which the main theme reappears in the orchestra, with florid passage-work on the solo violin. The finale is a vigorous rondo in D major. The insisten t momentum and impetus of its main theme finds apt contrast in the cross-rhythms (in effect 6/8 against 3/ 4) in the sturdy D-minor theme that provides the substance of the central episode. Throughout the movement the solo violin part demands the highest virtuosity and bravura. Symphony No. 6 in B minor, Op. 74 ("Patbetique") PIOTR hYITCH TCHAIKOVSKY Tchaikovsky began to work on his sixth Symphony in May 1892 , some years after the com pletion of the fifth, but the work progressed badly, and the composer abandoned it some months later. In February the following year he wrote to his nephew Vladimir Davidov to say that he had started afresh on a new symphony-Hthis time with a programme: but a programme of a kind which remains an enigma to all-let them guess it who can. The work will be entitled 'A Programme Symphony'." He went on to outline the plan of the work, drawing attention to the fact that the finale would not be 'great Allegro, but an Adagio of considerable dimensions'. In spite of a journey to England which included a visit to Cambridge to receive an honorary degree of Doctor of Music, th e symphony went ahead well this time, and Tchaikovsky declared that it was 'the best and the most sincere' of all his works, although he confessed to having difficulty with his orchestration. It was performed for the first time on October 27, 1893, and, accordin g to the composer's brother, Modest, it was the following day that he suggested to Tchaikovsky that he should call th e symphony by the name which has remai ned with it ever since. Though melancholy and extravagant self-pity are characteristics of Tchaikovsky's music, particularly of his three great symphonies (and are factors which undoubtedly account for their immediate and widespread appeal) it is tempting to think that he knew his sixth was to be his last. Except for the confidence of its third movement, the symphony is imbued with foreboding and a sense of almost helpless despair. But even if he sensed that he would not live to write another symphony, Tchaikovsky could scarcely have foreseen that a sudden attack of cholera was to bring him to his death-bed a mere nine days later. The symphony begins with a slow introduction in which, in the sombre colouring of lower strings and a solo bassoon, the principal theme of the movement is suggested. This theme, as it appears in the ensuing Allegro, has three elements: (a) a short ascending motif, (b) a semiquaver variant of the same, and (c) a descending succession of repeated semiquavers. The subsequent pages are devoted to an an imaled discussion of this material. The second-subject gro up is sharply divided from the first. It is cast in D-major and consists primarily of a tender, expansive melody (Andante), played by violins and cellos against sustained wind chords. A subsidiary passage (Moderato mosso) which features dialogues between flute, clarinet, and bassoon above a saltalldo string accompaniment, separates it from a restatement with intensified scoring. The development, which starts with a dramatic call to attention, begins as a fugato on (a) and (b) and finally builds up to one of Tchaikovsky's almost hysterical climaxes. After the recapitulation, only the principal section of the second subject is played, and the movement ends with a solemn passage for brass above pizzicato strings in unison, suggestive of a funeral cortege. The second movement has the form, though by no means the character, of a scherzo and trio. Its main section is in the style of a waltz, to which its 5/ 4 rhythm imparts a halting and lugub rious air. At first the theme is played by the cellos in their highest register, but later it is alternated between winds and strings. Repeated drum beats on a pedal D beneath the sustained notes of the trio's sighing tune impart a threatening character to the middle section . The return of the original theme is skillfully dovetailed in. The third movement is one of Tchaikovsky's most splendid creations; brilliant in orchestration and triumphant in spirit, it is in striking contrast with the other three movements. Formally it, too, has some similarity with a scherzo and trio, except that the trio is treated as the culminating point of the movement and returns as a great coda at the end. In style it is a march, and its theme is hinted at by various wind instruments above the chattering triplets of the strings in the first part of the movement, but only attains its full stature in the trio. In a movement that is conspicuous for the virluosity of its instrumentation the fin al statement of the march theme, with pounding chords on the brass, is an un forgettable sound. The finale is the slow movement. It has two main themes-the reiterated sigh of the opening and the simple, lamenting melody (Andante) for which it prepares the way, with its throbbing horn accompaniment. There are two climaxes, the second of them making effective use of a rushing scale-figure in conjunction with the opening theme. After the second of these outbursts the music fades away in the dark colours of bassoons, violas, cellos and basses with which the symphony began. Few musical farewells are more poignant. An Evening with The Duke Saturday, November 11, in Hill Auditorium at 8:30 Duke Ellington and his world-famous orchestra will be presented by the University Musical Society for the first time as a special Benefit Concert, with the contributions to help insure the long-standing tradition of excellent concerts in Ann Arbor.